Ernst Fuchs:
Sculpture / Candle holder "Griffon and Snake" (2006), version in bronze


Ernst Fuchs:
Sculpture / Candle holder "Griffon and Snake" (2006), version in bronze

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Ars Mundi exclusive edition | Limited, 499 exemplars | Serially numbered | Signed | Bronze | Hand-made | Patinated | Polished | Lighting object | Format: 35 x 31 x 13.5 cm (W/H/D) | Weight 9 kg

Ernst Fuchs: Sculpture / Candle holder "Griffon and Snake" (2006), version in bronze

In this masterpiece, Ernst Fuchs takes an ancient mythological theme: the conflict between the flying griffon and the earth-bound snake. By fusion of the lion body, vulture head and wings, this is a symbol of controlling air and earth. By its sharp eye, it was assigned visionary abilities, it is deemed as Apollo’s holy animal and guardian of gold. Since Middle Ages, the griffon is one of the most significant heraldic figures: it can be seen on the coats of arms of many countries and cities, e.g. Baden-Württemberg, Mecklenburg-Vorpommern, Düsseldorf, Greifswald or Rostock - and naturally, on the coats of arms of old noble families. By shaping this sculptural group as lighting object, Ernst Fuchs relates also to the fine dining culture of the 18th and 19th centuries.

ars mundi exclusive edition in fine bronze. Hand-cast using the lost wax technique. Hand-patinated and polished. Limited series, 499 exemplars, serially numbered and signed. Format: 35 x 31 x 13.5 cm (W/H/D). Weight 9 kg. Can be used also as a lighting object.

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Born in Vienna in 1930, Ernst Fuchs introduced already during his studies at the Vienna Academy in 1946-47, his works along with other young artists to the audience. He is one of the co-founders of fantastic realism in Vienna School. This artistic movement known was born in 1945 in Vienna and aware of the abstract art borders. The artists were in their works with the French Surrealism, the experience of the new objectivity and Pittura metafisica, as well as the fantastic elements of the pre-war Viennese art. Ernst Fuchs factory has significantly influenced of the 20th Century art.

The motives are complex symbols representing the afflictions of the people between life and death. Biblical and mythological representations dominate. The motives of the old and New Testaments are deliberately cryptic and visionary expressiveness. These puzzles are designed to instruct the viewer as the artist knowledge and solution.

His confrontation with the heterogeneous art traditions led him to a private historicism. He mixed, partly in polemical intentioned shape styles. In his first book "Architectura caelestis / the images of the lost style", in 1964 he published, outlining his artistic conception.

Something mystical and often erotic adheres to the imaginative picture inventions, often alienated by surreal elements. Fox's entire oeuvre is crisscrossed repeatedly by biblical motives. They lead to the unique book object, the Ernst Fuchs Bible.

An alloy of copper with other metals (especially with tin) used since ancient times.

Bronze casting:

When casting bronze, artist usually applies the lost-wax technique which is dating back more than 5000 years. It's the best, but also the most complex method of producing sculptures.

Sculpture "The Book Reader" by Ernst Barlachs is shown here as an example:

Ernst Barlach: Sculpture 'The book reader'

Ernst Barlach 'The Book Reader' - Lost Wax Casting Technique Part 1

First, the artist forms a model of his sculpture. It is embedded in a liquid silicone rubber composition. Once the material has solidified, the model is cut out. The liquid wax is poured in the negative mould. After cooling down, the wax casting is removed from the mould, provided with sprues and dipped into ceramic mass. The ceramic mass is hardened in a kiln, and the wax flows out (lost mould).

Ernst Barlach 'The Book Reader' - Lost Wax Casting Technique Part 2Now we finally have the negative form, into which the 1400 ° C hot molten bronze is poured. After the bronze had cooled down, the ceramic shell is broken off and the sculpture comes to light.

Ernst Barlach 'The Book Reader' - Lost Wax Casting Technique Part 3Now the sprues are removed, the surfaces are polished, patinated and numbered by the artist himself or, to his specifications, by a specialist. Thus, each casting becomes an original work

For lower-grade bronze castings, the sand casting method is often used which, however, does not achieve the results of more complex lost wax technique in terms of surface characteristics and quality.

Related links:
Sand casting

Designation for an art object (sculpture, installation), which is produced according to the will of the artist in multiple copies in a limited and numbered edition.

Artist's multiple contributed to "democratization" of art as the work was made available and affordable for a wider audience.

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